I think we’re really lucky being songwriters. We get to say things that many folks will never say out loud in their lives. We can get people to sing them over and over, with every fibre of their being if we do it right. That’s the world we live in. Because a song don’t mean a thing if it can’t make you FEEL something. As a songwriter, it’s the emotion that you need to get right above and beyond pretty much anything else.
So, how do you get your songs to strike an emotional chord?
1. Write Like a Human - sometimes, a songwriter will show me a lyric that I will have no idea has been written by them, because it bears utterly no relation to how they speak. They use words they’d never normally use in everyday speech like old fashioned slang or weird sentence construction just to fit a rhyming template. At this stage, I’ll ask them to tell me IN THEIR OWN WORDS what they’re trying to actually say, and suddenly you get this really interesting or powerful story coming out. And I’ll say that’s what you should put in the song. This is often referred in copywriting circles as the bar stool test. Think of your song as something you’d tell a good friend in a bar - the tone is authentic, real, intimate, conversational, connected, passionate, interesting. Like a human. Make the song like that.
2. Groove Is In the Heart - the rhythm of your song has a powerful impact on how we feel - at a deeply physiological level. It can make us tap our feet, nod in time or dance the night away. In fact, musicians talk endlessly about getting the ‘feel’ right in songs. Partly it’s the tempo and beat you choose, but it’s also the elements you leave out - every 4th high hat, or not strumming constantly through the verse. Whether you ‘push’ the timing of the song bringing a whole bunch of drive or you lay back relaxing the tension can give a completely different feeling to the music. Remember, this is the most repeated aspect of your song and getting it ‘right’ counts - literally. Make us feel.
3. Spice Up the Chords - the chords that you use and the order you use them can hit you right in the heart from the minute the song starts. This can be profoundly simple Gwen Stefani’s Hollaback Girl uses just two - Eb minor & Gb major. The Beatles’ Eleanor Rigby uses E minor and C major. But the magic is in how the chords are used. Not always with the root in the bass. Sometimes with added extras - sixths and sevenths - major and dominant. Sometimes missing the third or with suspensions. But wonderful triggers into making us respond emotionally. Learning one new chord can give you a whole new songwriting seam to mine.
4. Contour - the shape of the tune has a huge impact on how songs make us feel. Not just the big money notes but the way a song builds or creates uplift can, well be, uplifting. And there’s comfort in the sound of silence too - making us wait to land on the chorus. I’m not saying every song has to be a box of fluffy ducks - far from it - but I’m more than happy to sing along with the chorus of Radiohead's ‘Creep’ because of the shut down on 'Creep' and the satisfying falling melody on 'Weeeir-do'. Just saying,
The point is don’t tie yourselves up in knots under the microscope of ‘songwriting correctness’. If you create something that makes you feel good or sad or upset - in fact anything but indifferent, then set to and finish it. We need all the emotion in songs we can take!
Talk more soon
ps we’re now taking bookings for both Wanaka Songwriters Clinic Oct 2018 and Akaroa Songwriters Retreat Feb 2019.
Hi, I'm Charlotte Yates and I can help you get better at writing songs.